Modernism

Established in the late 1960s by R. Murray Schafer at Simon Fraser University, the World Soundscape Project is considered to have birthed acoustic ecology, a discipline recently taken up by geographers looking at the relations between fauna, space, and sound, as well as those interested in the bodily aspects of the aural. What’s missing from the literature, though, is an exploration of how the framing and technological monitoring of “soundscapes” have functioned biopolitically to maintain hierarchies of power. Drawing on a GIS study that intersects sound monitoring points with different demographic areas in King County, WA, along with a discourse analysis of federal and local noise control regulations, I explore the ways in which the construction of a “soundscape” works to re-present marginalized groups as literally inaudible, while naturalizing capitalist production, silencing its “noisy” contradictions.

9th Annual Critical Geographies Mini-Conference
Simon Fraser University
22 November 2014

The Seagram Building in Manhattan (1954-58), by Ludwig Mies van der
Rohe and Philip Johnson, is one of those rare pieces of architecture
which has come to define an era. For Mies van der Rohe the achievement of the Seagram Building was the resolution of years of theoretical and exacting architectural investigation.
The influence of the Seagram Building stretches beyond that of a single work of a modernist master, however. Its significance is also felt in the way it changed planning legislation and became associated with the fragmentation of the urban realm, through the spread of the generic modernist combination of tower, plaza and artwork.

The authors of the volume ('From May ’68 to November ’89: Transformations of the World, Literature, and Theory') intervene in the study of the student movement’s “rehearsal” for a world revolution and its afterlife in the 1980s and 1990s by addressing two hitherto neglected aspects – the literary and the peripheral. They consider the roles played by the (semi-)periphery of the modern world-system, on the one hand, and modernist literature and theory, on the other, in transforming the existing world order in the fields of culture, politics, economy, and everyday life. How were critical theory and neo-avant-garde literature in the world, in Slovenia, and in Yugoslavia intertwined with the student protest that advocated the transformation of the capitalist world-system and its socialist counterpart? The monograph focuses on the processes that connected the events of 1968 and 1989 in the social, literary, and theoretical spheres in the sign of continuity and turning points, and at the same time defined our contemporary world.

Préface d’Augustin Berque
Un siècle de banlieue japonaise apporte une réflexion inédite sur les processus d’urbanisation de l’une des sociétés de consommation les plus avancées de la planète, dans un pays dont la population doit, de surcroît, souvent faire face à des désastres naturels. De la fin du 19e  siècle aux temps présents en passant par la crise de Fukushima, l’histoire de la production de l’espace nippon retracée ici nous permet de saisir l’évolution du rapport des Japonais à l’urbain et à leur milieu.

Dans ce contexte, la formation du tissu urbain banlieusard qui entoure les villes, et notamment la capitale, est un phénomène particulièrement éloquent.
Au Japon, logements publics et sociaux n’allant pas de pair, il est essentiel de saisir les motivations d’une réflexion liée au logement populaire en banlieue. Quelles sont les conséquences foncières, sociales et culturelles de la transformation de l’espace imposée par les politiques planificatrices de la seconde moitié du 20e siècle? Un siècle de banlieue japonaise présente les premières initiatives externalisées dans le domaine du logement, les influences occidentales et les prises de position qui ont donné naissance au processus de création de la banlieue japonaise, ainsi que les grands mouvements d’idées sous-jacents.

Afin d’illustrer les résultats concrets de ces phénomènes, l’auteure examine en profondeur la situation des cités de loge-ments publics japonaises, qui exprime certes la mise en œuvre de la modernité dans l’aménagement spatial, mais entraîne également des réalités socioculturelles difficiles. De la naissance du noyau urbain de Tôkyô aux emprunts à l’Amérique de l’après-guerre, de la vague du bunka à l’apogée de Kôdan (l’organisme public du logement), en passant par l’évolution inexorable d’un village où les traditions disparaissent progressivement, Cécile Asanuma-Brice nous présente la poétique et la politique de l’urbain nippon. Elle nous invite de manière spéculaire à nous interroger sur la production de l’espace urbain occidental.

Table des matières
Remerciements | 11

Préface d’Augustin Berque | 13

Introduction / Au paroxysme de
la société de consommation | 15

PARTIE I / NAISSANCE DE VILLE ET STRUCTURATION DE L’ALENTOUR

De la naissance d’Edo à la formation d’une culture d’habiter propre à la périphérie urbaine | 25

Chapitre 1 / Une organisation urbaine au rythme des plateaux | 27
Chapitre 2 / Le rôle des transports dans l’étalement urbain de Tôkyô | 53
Chapitre 3 / L’ère du Bunka 文化 | 71

PARTIE II / FORMATION D’UN SYSTÈME DE LOGEMENT PUBLIC  ET TRANSFORMATION DU MODE DE VIE EN PÉRIPHÉRIE

Naissance d’une préoccupation publique sur la question du logement social
au Japon | 85

Chapitre 1 / L’émergence de la question du logement ouvrier | 87
Chapitre 2 / Du logement d’entreprise à la ville d’entreprise Shatakugai 社宅街 | 95
Chapitre 3 / Lorsque le logement devient une préoccupation publique | 111

PARTIE III / QUAND LA BANLIEUE PERD SON LIEU

Aux prémices de la métamorphose banlieusarde | 129

Chapitre 1 / L’après-guerre 1945-1955 : mise en place des organismes de production et de gestion des logements pu-blics et évolution du cadre juridique | 131
Chapitre 2 / De la modernité | 143
Chapitre 3 / Les influences américaines | 149

PARTIE IV / L’ORGANISME PUBLIC DU LOGEMENT (KÔDAN JÛTAKU)

Naissance et décadence | 157

Chapitre 1 / 1955, début de la période de haute croissance | 159
Chapitre 2 / À nouvelle forme d’urba-nisme, communautés nouvelles | 167
Chapitre 3 / Les années 1980 : kôdan, apogée et déclin | 179

PARTIE V / VAGABONDAGE PÉRIURBAIN, DU TERRITOIRE
À LA CHOSE CONSTRUITE

Chapitre 1 / La formation de la banlieue fasuto-fûdo (ファスト風土 ) | 195
Chapitre 2 /  L’inadaptation de la ville-objet de consommation au territoire: le séisme de 2011 | 205

Conclusion / Du local au global, quand la domination de l’appareil  organisationnel détruit ceux pour qui il a été mis en place | 215

Annexe / Si la banlieue nous était contée… par ses habitants | 221
Bibliographie | 227
Glossaire | 243
Index des lieux | 247
Sources iconographiques | 249
Crédits | 253

Libro dedicado al pensamiento de Bataille, incluyendo en primer lugar un importante texto inédito hasta ahora en español (una conferencia sobre el juego y el placer no incluida en las Obras Completas publicadas en Francia).

A través de sus 18 capítulos, el libro recorre el pensamiento de Georges Bataille en todas sus etapas. Pero propone también un diálogo estrecho con muchas de las temáticas tratadas por Bataille (la transgresión, la soberanía, el juego, la muerte, la experiencia interior, la filosofía, la política, el arte), procurando enfrentarlas con los más variados puntos de vista desde dentro y desde fuera de las perspectivas que en su extensa y compleja obra siguió el propio Bataille.

Este libro tuvo su origen en un congreso en torno al pensamiento de la transgresión de Georges Bataille, celebrado en la Universidad Complutense de Madrid y coordinado por el grupo LA EUROPA DE LA ESCRITURA. Incluye en primer lugar los trabajos que se presentaron en él. Pero se ha abierto también a trabajos relevantes de autores muy cercanos a Bataille como, entre otros, Jean-Luc Nancy, Jean-François Lyotard o Georges Didi-Hubeman, que amplían enormemente su alcance.

This Master thesis directs attention to a paired subset of translation/transformation, namely mediation/derivation, by tracing the architectural work of Jan Ruhtenberg (1896-1975). Despite his leading role as educator and practitioner, Ruhtenberg may well be the best “unknown” architect of the modern era. Part of the forgetting is due to a tragic biography that reveals the prejudices of the 1950s; he was disgraced as a homosexual, dropped by clients, and rejected by his family. Consequently, many of his buildings have been demolished in recent years—most famously the 1939 El Pomar Carriage House Museum at the Broadmoor Resort, Colorado Springs (known as the “Round Barcelona Pavilion”).

The biographical narrative serves as a nodal matrix through which I approach the concepts of mediation—the medium of transmission that surfaces as agency at the interposition of stages between stimulus and reaction—and derivation—which I define as the action of drawing, obtaining, or deducing from a source; the transposition from one point to another—as transformative acts of translation so as to offer an interpretation of selected projects that emerged from his professional experience as well as geographical and socio-cultural displacements.

Zeroing in on Ruhtenberg’s formative years 1929-1932 in Berlin, Germany, this thesis aims to analyze a distinct manipulation of minimalist syntax as a means of understanding what his approach to architecture ultimately represents: a highly particular and inventive reflection about Modernism’s mediation and derivation. The architect’s particular project under investigation is the “Four-Room Apartment for a Childless Couple,” Ruhtenberg's Gold-Medal-winning contribution to the German Building Exhibition in Berlin (1931). By tracing the historical narrative that explores Ruhtenberg’s close friendship with Philip Johnson and his early architectural beginnings as a private assistant to Ludwig Mies van der Rohe, the philosophical motif of the apprentice manifests warranting closer inspection as a figure that sustains intricate links to the notions of transference and origination; synthetic properties for a unique formulation of architectural Modernism.

This article outlines a systematic theory of style that aims to combine "social formalism" with narratology. Beginning with a reading of a little-known essay by Raymond Williams on the history of English novelistic prose, the article argues that Williams's insights into the social preconditions of modern style can be suggestively combined with Mikhail M. Bakhtin's theory of the inherent multiplicity of novelistic discourse and Richard Walsh's pragmatic theory of narrative "voice" to produce a core definition of style. Style is (1) a linguistic mode of social relation; (2) one of several subordinated, relatively autonomous linguistic operations or "substyles " (Walsh's instance, idiom, interpellation); or more properly, (3) the total mode of configuration of these substyles. The article then proceeds to embed this definition within a broader critical poetics. It argues that stylistic production in the novel is literally "informed" by several factors, for example, the "linguistic situation" (the state of language as a writer would have experienced it, including its inner tensions and social stratifications), "stylistic ideology" (the self-conscious stylistic projects that writers develop), and the linguistic proprieties of inherited novelistic genres, types, and forms (which are themselves mediations of sociality). These categories are exemplified through an analysis of Virginia Woolf 's To the Lighthouse (1927).

In English see here: https://www.academia.edu/72119242/In_the_Depths_of_Perception_Istv%C3%A1n_Nagy_the_Hungarian_Van_Gogh_

Zárkózott, fojtott, szenvedélyes embernek írják le az emlékezők. Némelyek szerint folyton Monopol gyúrógumit, mások szerint kenyérgalacsinokat gyúrogatott, ami, teszik hozzá, állandó idegfeszültségre vall. A tésztagyurma aztán jól jött a szén visszatörléséhez. Beszélnek a csíki székely zömök alkatáról, mélyen ülő, apró, de sötét lobogású szemeiről, átható tekintetéről "titkos méhszúrástól megdagadt szemhéjak alatt", széles arccsontjairól, s arról, hogy keveset beszélt, de akkor vulkáni törmelékként köpte ki az egymáshoz ragasztott szavakat. "Egyetsebeszélj." 

A nyelvteremtés közel áll a dadogáshoz, a diszlexiához, az elnémuláshoz. „Nem értem én az emberi beszédet és nem beszélem a te nyelvedet.” Újra fel kell találni a szavakat, újra fel kell találni a szórendet. A nyelvteremtésben Nagy István éppen eddig ment el. A konszenzusos, az elvárt nem korlátozta. Szándékosan eltért, ellépett a megszokott látványtól. Minden nap új szemmel látta ugyanazt a fekete tavat, ugyanazt az elnyelő szurdokot.

In this essay I seek to explore the icon of the Fighting Cock movement (Khorus Jangi) and of its Manifesto, " The Slaughterer of the Nightingale, " in order to consider its implications and imagistic allusions. In outlining the background of the Khorus Jangi and associated movements, I discuss the imagery of the khorus both in ancient Iran and globally, and in the context of the ideology of the Khorus Jangi. The Manifesto is discussed and analyzed and it is seen that the khorus prefigured the Manifesto, and heralded the appearance of a new movement in painting, as distinct from what had already happened in surrealist and modernist circles in writing. The manifestation of surrealist and modernist ideology in imagery seems to have been a response to this wake-up call of the Khorus Jangi.

Aida Foroutan, “Why the Fighting Cock? The Significance of the Imagery of the Khorus Jangi and its Manifesto ‘The Slaughterer of the Nightingale,’” Iran Namag, Volume 1, Number 1 (Spring 2016), XXVIII-XLIX.

https://www.irannamag.com/wp-content/uploads/2017/01/1.1-English-Foroutan-Iran-Namag.pdf

Los escritores Alejandro Sawa y Antonio de Zayas, con ser autores diferentes en numerosos aspectos –sin ir más lejos, su opuesta orientación ideológica-, han compartido durante demasiado tiempo ese "páramo del olvido" becqueriano al que alude el título de este artículo. Pero también, significativamente, ambos están ligados mediante estrechos –si bien que disímiles- vínculos con Manuel Machado, vínculos que recorren prácticamente el espacio que va de la cuna a la tumba (por seguir el léxico de la célebre rima LXVI de Bécquer).

In the midst of the 1970s, where the immersion of culture battles made an entrance in the realms of politics and gender issues, Protect Renoir (1974) by Helen Frankenthaler was seen as polarizing in multiple dimensions as critics believed she was trying to defend the “male gaze” - the idea that women bodies were used as an object to satisfy male sexual desire within the visual representation domain. Protect Renoir is considered to be rebellious, it not only embraces the appropriation of Renoir’s fleshy colors palette but also elevates female sexuality through its dampness texture created by the pour of turpentine which allows the audience to view the legacy of Renoir in its true light. Frankenthaler used her status as a female painter to bring back the concept of “feminine mystique” and the embracement of sensuality in female sexuality without being interfered with moralizing didacticism of what was considered to be decadent gaze in our modern political correctness era.

The early Middle Ages provided twentieth-century poets with the material to reimagine and rework local, religious, and national identities in their writing. Poet of the Medieval Modern focuses on a key figure within this tradition, the Anglo-Welsh poet and artist David Jones (1895–1974), and represents the first extended study of the influence of early medieval culture and history from England on Jones and his novel-length late modernist poem The Anathemata (1952). Drawing on unpublished archival material including manuscripts, sketches, correspondence, and, most significantly, the marginalia from David Jones’s Library, Poet of the Medieval Modern reads with Jones in order to trouble the distinction we make between poetry and scholarship. Placing this underappreciated figure firmly at the centre of new developments in modernist and medieval studies, Poet of the Medieval Modern argues that Jones uses the textual and material culture of the early Middle Ages—including Old English prose and poetry, Anglo-Latin hagiography, early medieval stone sculpture, manuscripts, and historiography—to re-envision British Catholic identity in the twentieth-century long poem. At a time when the Middle Ages are increasingly weaponized in far-right and nationalist political discourse, the book offers a timely discussion of how the early medieval past has been resourced to both shore up and challenge English hegemonies across modern British culture.

The author studies a period that constitutes the height of the art critic Clement Greenberg’s engagement with the New Criticism. The essay offers a snapshot view of a larger transition that marks Greenberg’s shift from Marxist criticism in the late 1930s to a kind of formalism by 1960. Steiner argues that at the crux of Greenberg’s trajectory is an intense dialogue with a complex set of arguments with T.S. Eliot. If the Anglo-American tradition of the symbol and in particular Eliot’s notion of the aesthetic as both act and fact are particularly central to understanding the poet’s influence on the critic as well as his notion of expression, then Steiner also argues that Greenberg takes his distance from Eliot as representative of the New Critic’s on questions impacted by tradition, modernism, democracy and liberalism. At issue are the changes representative of American capitalism over and above the British model, the shift in the American economy toward work and away from leisure, and finally the emergence of middle-brow culture—all positive moments of transformation that Eliot was reluctant to champion. Along the way the argument traces a cluster of words that crop up in the critic’s vocabulary and that circle around the notion of the pastoral, materialism and expression. With these positions staked out, the essay looks at a number of key painters championed by Greenberg whose work is similarly impacted by the New Criticism.

Deadline: July 18, 2022.
The international conference *Transatlantic Visions: Italian Film Cultures and Modernisms in Post-War America (1949-1972)* focuses on the presence of Italian cinema in post-World War II U.S. cultural consumption. Its aim is to map the transatlantic exchanges that permitted or fostered the circulation and influence of Italian cinema in the United States in various ways during the period under consideration.

Deutung und Bewertung des Rilkeschen Lebenswerkes, insbesondere seiner »Duineser Elegien«, sind nach wie vor durch eine erstaunliche Unsicherheit gekennzeichnet. Dies erklärt sich wohl vor allem aus der weitgehenden Vernachlässigung bewußtseins- wie literaturgeschichtlicher Zusammenhänge in der bisherigen Forschung. Die Arbeit stellt daher die »Duineser Elegien« in den Kontext von Rilkes Gesamtwerk und versucht, ihre Eigenart und ihren Rang vor dem Hintergrund der deutschen Lyrik zwischen Jahrhundertwende und dem Beginn der zwanziger Jahre zu bestimmen. Da sie dabei die wesentlichen Züge der europäischen Modeme einbezieht, enthält die Studie auch den Entwurf einer Geschichte der modernen Lyrik und leistet einen wichtigen Beitrag zur Formulierung eines Epochenbegriffs der »Modeme«. Mit Hilfe ausgewählter philosophischer wie literarischer Texte der Zeit skizziert sie ein Entwicklungsmodell, das den französischen Symbolismus, die deutsche Jahrhundertwende, die »klassische Modeme« und die Avantgarde (Futurismus, Expressionismus, Wortkunst und Dada) in ein überzeugendes Verhältnis zueinander bringt, und zeigt Grundstrukturen der modernen Lyrik auf.
In ständigem Wechsel mit diesen Kontexten werden die »Duineser Elegien« eingehend analysiert. Nach rezeptionsgeschichtlichen und rezeptionsästhetischen Vorüberlegungen untersucht die Arbeit im Detail das Motivgeflecht des Werkes, Rilkes Verwendung von Mythos, Metapher, Vergleich und Symbol sowie die Bauformen des Zyklus und die intendierte Leserhaltung. Sie weist nach, wie Rilkes Deutung der condition humaine, sein neuer Wirklichkeitsbegriff und Subjektivitätsentwurf, und der poetische Diskurs der »Elegien« zusammenhängen und grenzt sie von den radikaleren Experimenten der Avantgarde ab.

How many playwrights, novelists, philosophers, artists, composers, performers, filmmakers and critical thinkers influenced Samuel Beckett? And how profound has Beckett's impact been on creative artists worldwide, who have responded to the stimulus of his work using every available medium, from theatre and television, through opera and contemporary art, and now to the internet and virtual reality?

This book approaches these two questions under two broad headings: first, "Influencing Beckett," or the ongoing traces of how Beckett constructed his own work by drawing on artists and thinkers near and far, ancient and current; second, "Beckett Influencing," or how his work has unfolded into the contemporary world across genre, across media, and as a source for others' artworks. The third section, "Practitioner Voices," concerns the implementation of such patterns of influence in theatrical practice.

With contributions from eight countries, this volume emerges from the first Beckett conference to be held in Hungary. It captures the international, experimental, and collaborative spirit of the Samuel Beckett Working Group of the International Federation for Theatre Research.

Toward a New Architecture is a manifesto written by Le Corbusier. The manifesto has seven essays under the title of argument. These essays can be listed as the engineer's aesthetic and architecture, three reminders to architecture, regulating lines, eyes which do not see, architecture, mass-production houses and architecture or revolution. Each of them, under an influence from Adolf Loos's ideas; are rejecting eclectism as common idea and heading to functualism.

Bu makalede bugünle geçmiş arasında bağ kurarak son Osmanlı ve Cumhuriyet Türkiye’sinin Alevilere/Aleviliğe dair politikalarının dili, şiddeti, etkileri ve yansımaları analiz edilecektir. Alevilerle kurulmayan muhataplık ilişkisinin esasta Alevileri görünmez kılarak bu kimliği kültürel dünyadan silip atmayı hedeflemesine dair kültür politikalarının 21. yüzyıldaki yeni biçimleri tartışılacak; ‘görünmez kılmanın’ teknik olarak artık mümkün olamadığı bugünkü koşullarda Alevilerin görünür meşruiyetine rağmen, istikrarlı yasal tanınmazlığına yol açan arkaplan incelenecektir.

Modern Türkiye’de Siyasî Düşünce külliyatının Modernleşme ve Batıcılık cildini inceleyeceğiz. Bu cilt dizinin diğer kitapları gibi çeşitli düşünürlerin yazılarından oluşmaktadır. Külliyat siyasi fikirlere odaklanmışken bu cildin de Türkiye’nin batılılaşma çabasındaki siyasi durumu ele aldığı görülmektedir.

"Ginzburg severely criticised the idea of building in this new society being the same as in the old one, and to elaborate on this socialist architecture he formedThe OSA Group. The OSA Group generated progressive theoretic and practical work to make transitory socialist-aimed projects. Soon after establishing OSA Ginzburg declared that the “modus operandi of an architect, from one who traditionally had a craftsmanlike relation to his client ” had to change to a new type of specialist who would be a sociologist, politician and a technician. He then began to admit members from related fields into the group making OSA’s programmatic orientation rather different from that of the other Constructivist formations. In practical terms OSA was meant to cultivate the idea of a ‘social condenser’ and to implement a radical approach particularly in social housing schemes. These were the first moves to-wards creating the Narkomfin building."

The book presents Muktibodh’s (Hindi writer) unique approach towards modern society and his longing for peace expressed in his writings. He is known as the poet of dreadful dreams in field of literature. The book highlights that behind the dreadful dreams lies the hope and the urge of the poet to bring peace in society. The poet has made an attempt to make people aware of this fact that though we are in spell of glamorous consumer culture, but there is a soul present within us, who longs for peace. When the pain becomes unbearable for this soul it screams and as a result we burst into tears in isolation. The dreadful dreams of the poet are the images of the world sensed by the soul, which also appeals to bring peace in the world.

Dinin siyasete alet edilmemesi, din ve devlet işlerinin ayrıştırılması ve
toplumsal dinin laiklik ile dengeli bir görünüm arz etmesi meselesi uzun
yıllardır Türkiye’nin gündemindedir. Gerek dünyada gerekse de Türkiye’de
dinin toplumsal görünümü arttıkça, din ve siyaset ilişkisi daha da tartışmalı hale gelmektedir. Kamusal ve toplumsal alanda dini referansların yoğunlaştığı durumlarda Kemalist ideoloji özellikle laiklik ve modernizm ilkeleri bağlamında çeşitli refleksler ortaya koymaktadır. Kemalist ideolojinin ilkeleri açısından “sekülerlik ve laiklik” kavramları uygulama bağlamında seküler fundamentalizm olarak karşımıza çıkmakta; din ve siyaset ilişkisinin Türkiye’ye yönelik değerlendirmesinde farklı bir bakış açısı sunmaktadır.
Kemalizm, sekülerizm ve fundamentalizmi tartışmak için öncelikle
kavramsal çerçevenin çizilmesi gerekmektedir. Çalışmada laiklik, sekülerizm ve fundamentalizm ilişkisi bağlamında Kemalizm’in Türkiye uygulamalarının seküler fundamentalizme nasıl dönüştüğü tartışılmaktadır. Sekülerizm daha çok toplumsal yaşamın bir parçası olarak değerlendirilirken, laiklik rejimin korunması noktasında siyasal bir kavram olarak nitelendirilmektedir. Çalışma, kavramsal farklılıkların yanı sıra Kemalist ideolojinin laiklik ilkesinin uygulanmasının seküler fundamentalizme dönüştüğünü vurgulamaktadır. Anahtar Kelimeler: Fundamentalizm, Kemalizm, Laiklik, Modernleşme,
Seküler Fundamentalizm, Sekülerizm.
KEMALISM AND SECULAR FUNDAMENTALISM
Abstract: The issue concerning religion should not be an instrument for
politics; the separation of religion and state affairs and the social religious appearance to have a balanced appearance with secularism has long been in the agenda of the world and our country. As the social aspect of religion grows, the relationship between religion and politics is becoming more controversial in the world, as well as in our country. When religious references are concentrated in public and social space, Kemalist ideology reveals various reflexes, especially in the context of the principles of secularism and modernism. In terms of the principles of Kemalist ideology, secularism emerges as secular fundamentalism; offering a different perspective in the assessment of the relationship between religion and politics in Turkey.
In order to examine Kemalism, secularism and fundamentalism, it is
primarily necessary to draw the conceptional framework of these concepts. In the study, how the Turkey practices of Kemalism were transformed to fundamentalizm is discussed within the context of secularism and fundamentalism relationship. While secularism is mostly evaluated as a part of
social life, it is described as a political concept in the point of the defense of secular regime. It is argued that the Kemalist ideology practices secularity by transforming it into a fundamentalist form.
Keywords: Fundamentalism, Kemalism, Laicism, Modernization, Secular
Fundamentalism, Secularism.

The architect and planner Michel Ecochard has had a long career in developing countries, from its first works in Syria under the French rule, until the 1970s. He represented the modernist and functionalist approach to planning in a time of modernization. In this article, we concentrate on his work in Lebanon and Syria between the end of the 1950s and the 1960s. He prepared the master plans of Beirut and of Damascus. Those works represented the end of an era rooted in colonial planning. It was also the beginning of a new time, with the local planners taking on, sometimes sharing, sometimes contesting Ecochard's visions. Building on recent scholarship on the circulation of planning ideas, we focus on the reception of Ecochard's proposals. Though most political elites and planning professionals shared most of Ecochard's views, the political circumstances and the changing social conditions led to adjustments and reorientations. The new planning framework was also a major factor of change.

Sons and Lovers is a semi-autobiographical novel in which the male protagonist of the novel Paul Morel got chained by a mother’s love. Throughout the novel, his love is for his mother and he is all the time surrounded by his mother that led Paul towards composite psychological issue. The novel actually focuses upon Oedipus complex, mother fixation and psychological issues. The novel deals with the mother and son’s strong bond which seems like a flimsy pendulum, gradually split and smashed.

Nothing ever happens on time in Madame Bovary. When a cannon
goes off to announce the arrival of a government prefect at the local
agricultural fair, the Comices Agricoles, we are told: “C’était une fausse
alerte. M. le préfet n’arrivait pas; et les membres du jury se trouvaient
fort embarrassés, ne sachant s’il fallait commencer la séance ou bien
attendre encore” (Flaubert, Madame Bovary, moeurs de province 206).1
Even Emma Bovary’s death fails to come at the expected time: following
the abrupt, brutal moment at which she takes the arsenic that will kill
her (a moment in which we receive no indications of her inner state),
Emma—and the reader—must wait for the poison to take effect. In
what she believes to be her last beau geste, Emma kisses the crucifix
held out by her priest: “elle y déposa de toute sa force expirante le
plus grand baiser d’amour qu’elle eût jamais donné” (399).2 But death
does not come at this “appropriate” moment: instead, she goes on
living long enough to experience the horror of a blind beggar’s song
coming from the street, whose ugliness replaces the beauty which she
had wanted to be the setting for her death.

In 1899 the great exhibition devoted to Alessandro Volta was meant to open a new season of richness for Como and the Lake. Nonetheless, in 1927 the second exhibition organized for the centennial anniversary of Volta's death was promoted by city's institutions and local businessmen as moment of improvement in the fields of economics, culture and tourism. Around the 1927 exhibition new buildings and facilities were built redesigning the historical downtown and its surroundings, such as the Sinigaglia Stadium built in the 1899 exhibition site, the Faro Voltiano on the Brunate hill, in the place of an ephemeral tower. The paper aims to reconstruct some events in Como's urban history in the first three decades of 19 th century, following both stylistic and architectural issues and connections with municipal identity and then fascist propaganda.

Philosophy exercises a massive influence on contemporary architectural culture, architectural debates and architectural theory. Discussions of architects, architectural theorists, and architectural historians are heavily loaded with theoretical ideas, concepts and views imported from the works of philosophers. At the same time, this architectural employment of philosophy rarely goes beyond the tendency to mine philosophical works for words, words and phrases and use them, often without much understanding, in order to promote architectural agendas and embellish theoretical claims made by architects. The book presents the history of the phenomenon for the past hundred years. It describes numerous, often funny,  entertaining as well as embarrassing, examples of false intellectual pretence and pompous but incompetent philosophical posturing by prominent architects and architectural academics of the era and their efforts to bamboozle readers, colleagues and the general public. The book is intended to present a powerful criticism of modernist views on architecture. It argues that the rise of obfuscation and philosophical posturing among architects and architectural academics is a defensive strategy intended to draw attention away from the failure of architectural Modernism. See also: https://issuu.com/oro_editions/docs/age_of_fraud_excerpt